Edition of 80. "Love All Day is proud to present a limited cassette reissue of a one of a kind, completely original collection of songs created by two American expatriates living in London in 1980. Recorded in their living room on a Teac tape machine, Synthesis was entirely composed and performed on a mail order Serge synthesizer kit that Planetary Peace (the husband and wife duo of Will & Kalima Sawyer) had built themselves. Originally pressed in a minuscule edition that was mostly given away to friends and colleagues, this brilliant piece of work was almost entirely unknown until Sound Recorder/Record Collector Brett Becker chanced upon one of the only known copies in existence at the yard sale of a former New Age disc jockey in Santa Fe, New Mexico in 2014. There’s a very palpable DIY-vibe that runs throughout the album, which gets filtered through a visionary lens where slightly off-kilter devotional folk songs expand into majestic synth excursions that reach for the outer edges of the cosmos. It’s a strange, beguiling collection of songs where two kindred spirits are operating simultaneously on a higher plane, unlike any other ostensibly “new age” album we can think of —especially in the the way that it so embodies such a sense of wonder. Now living in Ha’iku, Hawaii on the island of Maui, they operate an organic farm and have carried on their DIY roots by creating a solar powered studio they built themselves in which they continue to record to this day." - Love All Day.

“We recorded it ourselves in London, fall 1980, on a TEAC reel-to-reel tape deck, in our living room. We had arrived in London with all of our equipment, intent on making this recording before the arrival of our first child in Mar, ’81. Through grace or luck, we found a small cottage near Hampstead Heath (right in the heart of London) that was quiet enough in the evenings to do the work.
Because we were (are) into harmonic tuning, rather than equal temperament, we had searched out an instrument that we could tune ourselves; there was an engineer, Serge Tcherepnin, in San Francisco who had developed a kit for an analog synthesizer which fit our specs. We spent a few months prior to leaving for London laboriously building it, soldering it together and learning how to play it. It required patch cords that manually routed the signals in various configurations, connecting oscillators, filters, etc. Now of course, this is all done digitally . . .
We used a TEAC reel-to-reel tape deck, Shure mics and maybe some other stuff, like reverb, all of which we brought over with us. The funny part is that as we left S.F., our flight was delayed for several hours while they de-planed everyone in a remote area on the tarmac and looked through everyone’s luggage. They said there had been a bomb scare, and we figured out quite a bit later that it was our synthesizer that had likely triggered the alert. That was SO out of everyone’s context at that time, as this was before “terrorists” had been invented!"
Once our daughter arrived, we more or less dropped it all; it is actually a minor miracle that you happened across one of the very rare cassettes that we got around to distributing!”" Planetary Peace.
Synthesis by Planetary Peace

Recorded in their living room on a Teac tape machine, Synthesis was entirely composed and performed on a mail order Serge synthesizer kit that Planetary Peace (the husband and wife duo of Will & Kalima Sawyer) had built themselves. Originally pressed in a minuscule edition that was mostly given away to friends and colleagues, this brilliant piece of work was almost entirely unknown until Sound Recorder/Record Collector Brett Becker chanced upon one of the only known copies in existence at the yard sale of a former New Age disc jockey in Santa Fe, New Mexico in 2014. There’s a very palpable DIY-vibe that runs throughout the album, which gets filtered through a visionary lens where slightly off-kilter devotional folk songs expand into majestic synth excursions that reach for the outer edges of the cosmos. It’s a strange, beguiling collection of songs where two kindred spirits are operating simultaneously on a higher plane, unlike any other ostensibly “new age” album we can think of —especially in the the way that it so embodies such a sense of wonder. Now living in Ha’iku, Hawaii on the island of Maui, they operate an organic farm and have carried on their DIY roots by creating a solar powered studio they built themselves in which they continue to record to this day." - Love All Day.

“We recorded it ourselves in London, fall 1980, on a TEAC reel-to-reel tape deck, in our living room. We had arrived in London with all of our equipment, intent on making this recording before the arrival of our first child in Mar, ’81. Through grace or luck, we found a small cottage near Hampstead Heath (right in the heart of London) that was quiet enough in the evenings to do the work.
Because we were (are) into harmonic tuning, rather than equal temperament, we had searched out an instrument that we could tune ourselves; there was an engineer, Serge Tcherepnin, in San Francisco who had developed a kit for an analog synthesizer which fit our specs. We spent a few months prior to leaving for London laboriously building it, soldering it together and learning how to play it. It required patch cords that manually routed the signals in various configurations, connecting oscillators, filters, etc. Now of course, this is all done digitally . . .
We used a TEAC reel-to-reel tape deck, Shure mics and maybe some other stuff, like reverb, all of which we brought over with us. The funny part is that as we left S.F., our flight was delayed for several hours while they de-planed everyone in a remote area on the tarmac and looked through everyone’s luggage. They said there had been a bomb scare, and we figured out quite a bit later that it was our synthesizer that had likely triggered the alert. That was SO out of everyone’s context at that time, as this was before “terrorists” had been invented!"
Once our daughter arrived, we more or less dropped it all; it is actually a minor miracle that you happened across one of the very rare cassettes that we got around to distributing!”" - Planetary Peace.
Synthesis by Planetary Peace

“Recorded over a six year period, Sabbaticals Sundown germinated in the cracks that separate the disparate moments of a life, and found its rhythms nursed in the openings that emerged between other projects. In those spaces – periods of exception from the flow, journeys, downtime, lacunae – Sundown waited for its creator, gathering energy, until it grew to become the centre point around which Sabbaticals other activities would begin to orbit.
A sabbatical is itself a lacuna. It is the time that is set aside. And our sabbaticals, our downtimes, long or short, are both temporal and spatial – they are often characterised by journeys, or the lack of them. We take breaks and make moves, or we stay put and cease constant movement: sacred time always demands sacred spaces, spaces within which normal rules are temporarily repealed, reversed, or augmented. Music is the magic prism that fixes such fragments of time in suspension and holds them, crystalline, up to the light so that they can be felt and understood again. And its focus can be precise: within the mirrored interior of a song, music can preserve also the locations through which time passes, or which might themselves be said to have passed through the slivers of time that music holds.
And so Sundown recalls not only traces of the time in which it developed, but also the places through which this time was poured. Sabbaticals palette seeks not to evoke but to recover and hold the glittering light on journeys to ice-fringed points north, to arrest in analogue the frequencies of evening light, to capture as reverie the marchlands where time is spent in space in such a way that their interrelationship becomes blurred (for is not a journeys length typically measured in time and distance at once?). The earth moves around the sun – by this spatial relation we find a temporal measure – but we apprehend it perceptually as the movement of the sun around the earth, and the effort of adjusting what we perceive to what we know is similar in kind to recognising that what we had felt peripheral has secretly become the centre of our efforts. As flowers turn their faces toward the sun, so we turn toward the work that draws us, and at sundown we close our books and take our daily sabbatical of sleep.” – Francis Gooding.